This script by British director Peter Greenaway (born 1942) follows Russian director Eisenstein to Guanajuato, Mexico, in 1930, where he worked for ten days on a never-completed film called "Que Viva Mexico."

Peter Greenaway directs this black comedy which revolves around three generations of women called Cissie Colpitts (Joan Plowright, Juliet Stevenson and Joely Richardson). When each of the women decides to drown their husband, they enlist the assistance of Coroner Madgett (Bernard Hill), who finds his job seriously compromised as a result. Meanwhile, Madgett's adolescent son Smut plays obscure folk games and becomes obsessed with collecting animal corpses.

Austrian painter Oskar Kokoschka's love for Alma Mahler was so great that he had a life-sized model of her made. "The OK Doll," by Peter Greenaway (born 1942), is the script for an unrealized film about the doll that Kokoschka lived with for three years.

In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties.

In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the "and then and then" narrative.

In these provocative interviews Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard.

Peter Greenaway's surreal story has twin brothers (Brian and Eric Deacon), both zoologists, re-examining the meaning of life after a car accident involving a swan claims the lives of their wives. They study the decomposition of several animals with time-lapse photography, plot to liberate zoo animals, and begin a menage-a-trois with the one-legged woman who survived the crash.

Peter Greenaway's highly acclaimed first feature was filmed in the beautiful house and gardens of Groombridge near Tunbridge Wells. The drama is set in the late seventeenth century and the plot is one of intrigue between the sexes. Successful artist Mr Neville (Anthony Higgins) is commissioned by Mrs Herbert (Janet Suzman) to draw up her late husband's estate. Part of the contract includes the exchange of sexual favours between the two, but sexual intrigue soon turns to murder.

Peter Greenaway's "Goltzius" is the second installment in his "Dutch Masters" series. Its story runs thus: sometime during the winter of 1590, the Dutch printmaker Hendrik Goltzius holds an interview with Margrave of Alsace, in the grand library at his castle on the Rhine. Goltzius needs money in order to build a printing press to print erotic illustrated books, and he entices Margrave of Alsace into paying for an extraordinary book of pictures of Old Testament Biblical stories, by dramatizing the erotic stories of Lot and his daughters, David and Bathsheba, Samson and Delilah and John the Baptist and Salome--stories in which themes of incest, adultery, female entrapment and necrophilia abound. Margrave's court is completely seduced by Goltzius' titillating storytelling, and swiftly sinks into a pit of lechery and religious politics, until the court is forced to buy its way out, and Goltzius can begin his ambitious endeavor.
Peter Greenaway was born in Wales in 1942. His films include "The Falls," "The Belly of an Architect," "Drowning By Numbers," "The Cook, the Thief, His Wife, & Her Lover," "Prospero's Books," "The Pillow Book, " "Nightwatching" and others.

Peter Greenaway writes and directs this psychological drama. Architect Stourley Kracklite (Brian Dennehy) goes to Rome to organise an exhibition paying tribute to an 18th century predecessor. There he becomes convinced his pregnant wife, Louisa (Chloe Webb), is having an affair with one of his rivals and when he develops stomach cramps he suspects she is trying to poison him.

Two more short films from Peter Greenaway. In 'Vertical Falls Remake' academics argue about the work of Tulse Luper while 'The Falls' is divided into 92 biographies of people who have all been affected by the 'VUE', the Violent Unknown Event and a phenomenom in some way connected with birds and flying.

Six early shorts by the director of 'The Draughtsman's Contract' and 'The Cook, The Thief, His Wife and Her Lover'. 'A Walk Through H' describes a series of 92 maps that guide a dead ornithologist on his way to the afterlife, whilst 'Windows' is the history of 37 people who have fallen to their death from windows. The other shorts are 'H is For House', 'Intervals', 'Dear Phone' and 'Water Wrackets'.

Since the 1960s, British multi-media artist Peter Greenaway has shocked and intrigued audiences with his avant-garde approach to filmmaking and other artistic ventures. From early experimental films to provocative features, Greenaway has deployed strategies associated with structuralist cinema, only to challenge or critique the very limits of that cinema and of film in general. In this collection of essays, scholars from a variety of disciplines explore various postmodern and poststructuralist aspects of Greenaway's films, starting with his early shorts and delving into his feature-length works, including The Draughtman's Contract, The Belly of an Architect, A Zed and Two Noughts, The Cook, the Thief, His Wife and Her Lover, The Baby of Macon, and The Pillow Book. Other artistic productions, including his paintings and installations are also discussed. These essays examine the filmmaker's position within British and avant-garde cinema and his interest in constructing and deconstructing representational systems. In the years since the first edition of this book, Greenaway has enjoyed continued success in creating hybridized media projects for the stage and screen, as evidenced by additional essays for this revised edition. A new chapter addresses how Dutch political events and Dutch art have been crucial in shaping Greenaway's aesthetic, focusing on The Draughtsman's Contract, the 1991 opera Writing to Vermeer, and Nightwatching, the audio-visual installation and 2007 film of the same name, which were inspired by Rembrandt's Night Watch. Also new to this collection is an essay that examines Greenaway's most ambitious endeavor to date, The Tulse Luper Suitcases, which exists as four feature films, multiple websites, an online game, several books and installations, and a number of theatrical events. Peter Greenaway's Postmodern/Poststructuralist Cinema, Revised Edition explores the cultural, historical, and philosophical implication